| 1. |
- Back Danielsson, Ing-Marie, et al.
(author)
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Guldgubbar's changing ontology : Scandinavian Late Iron Age gold foil figures through the lens of intra-action
- 2020
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In: Images in the Making : Art, Process, Archaeology - Art, Process, Archaeology. - 9781526142849 - 9781526142856 ; , s. 184-201
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Book chapter (peer-reviewed)abstract
- This chapter discusses minuscule gold foil figures from the Scandinavian Late Iron Age anddemonstrates how the figures are continuously in the making, rather than being still representations of gods. In the past, the figures’ affectual qualities, such as their small size, their shininess and their human-like and foldable character, invited play and experimentation, stressing the figures’ ongoingness. Equally, their capacities to be simultaneously image,object and component allowed them to be reconfigured into new arrangements, stressing their fractal, emerging and open-ended character. By contrast, in the present, they become ‘victims’ of representationalist thought, through the framing and boundary making practices set up by for instance museums, keeping the figures in complete motionlessness. Instead, itis only through the help of different apparatuses (digital photography, copying etc.), that theybecome generative and are in the making in the present, stressing that we today to a greaterextent deal with gold foil figures’ hauntology, rather than their ontology.
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| 2. |
- Back Danielsson, Ing-Marie, Docent och FD i arkeologi, 1964-, et al.
(author)
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Introduction
- 2020
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In: Images in the making. - Manchester : Manchester University Press. - 9781526142849
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Book chapter (peer-reviewed)abstract
- This introduction addresses and challenges long held assumptions concerning archaeological art and images, and offers new ways to approach and understand them. It is less concerned with the thorny question of defining art, and instead primarily focus on images. We develop approaches that enable us to follow images in their making, their unfolding, their transformation, their multiplicity. We also discuss how images can be understood, given that they appear to be in constant motion.
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| 3. |
- Dawson, Ian, et al.
(author)
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Diffracting Digital Images in the Making
- 2021
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In: Visual Resources. - : Taylor & Francis. - 0197-3762 .- 1477-2809. ; 37:1, s. 31-43
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Journal article (peer-reviewed)abstract
- This paper presents a diffractive dialogue between ethnographic accounts of imagery, digital or computational imaging, and art and archaeology practices. It develops the notion of images in the making in the context of the digital domain, to discuss what an image is and can be today. It focusses on two digital imaging techniques developed within archaeology and cultural heritage – Reflectance Transformation Imaging (RTI) and Structure from Motion photogrammetry (SfM) – exploring how these techniques play out in heritage and art world contexts and practices. The paper highlights digital images as unstable compositions, and explores how digital images in the making enable us to reconsider the shifting temporal character of the image, and discuss the way in which the digital image forces us to disrupt the representational assumptions bound up in the relationship between the virtual and the actual. The authors argue that the diffractive moments in these encounters between archaeology and art practice disclose the potential of digital imaging to recursively question the complex ontological composition of images and the ability of images to act and affect.
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| 4. |
- Dawson, Ian, et al.
(author)
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What is a diffractive digital image?
- 2021
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In: Diffracting Digital Images. - London : Routledge. - 9781003042129 - 9780367486556 ; , s. 1-14
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Book chapter (peer-reviewed)abstract
- In the introduction to this book we outline the two main aims of the volume. First, the book examines digital imaging through the divergent lenses of archaeology, art practice and cultural heritage. Second, the book looks at the ethics of the deployment of digital images as a form of data (and conversely data processed to look like photographic images), particularly how digital imaging is shaped through collaboration with Indigenous communities.
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| 5. |
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Diffracting Digital Images : Archaeology, Art Practice, Cultural Heritage
- 2021
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Editorial collection (peer-reviewed)abstract
- Digital imaging techniques have been rapidly adopted within archaeology and cultural heritage practice for the accurate documentation of cultural artefacts. But what is a digital image, and how does it relate to digital photography? The authors of this book take a critical look at the practice and techniques of digital imaging from the stance of digital archaeologists, cultural heritage practitioners and digital artists.Borrowing from the feminist scholar Karen Barad, the authors ask what happens when we diffract the formal techniques of archaeological digital imaging through a different set of disciplinary concerns and practices. Diffracting exposes the differences between archaeologists, heritage practitioners and artists, and foregrounds how their differing practices and approaches enrich and inform each other. How might the digital imaging techniques used by archaeologists be adopted by digital artists, and what are the potentials associated with this adoption? Under the gaze of fine artists, what happens to the fidelity of the digital images made by archaeologists, and what new questions do we ask of the digital image? How can the critical approaches and practices of fine artists inform the future practice of digital imaging in archaeology and cultural heritage?
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| 6. |
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Images in the Making : Art, Process, Archaeology
- 2020
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Editorial collection (peer-reviewed)abstract
- This book presents a study of material images and asks how an appreciation of the making and unfolding of images and art alters archaeological accounts of prehistoric and historic societies. With contributions focusing on case studies ranging from prehistoric Britain, Scandinavia, Iberia, the Americas, and Dynastic Egypt, and including contemporary reflections on material images, it makes a novel contribution to ongoing debates relating to archaeological art and images. The book offers a new materialist analysis of archaeological imagery, with an emphasis on considering the material character of images and their making and unfolding. The book reassesses the predominantly representational paradigm of archaeological image analysis and argues for the importance of considering the ontology of images. It considers images as processes or events and introduces the verb ‘imaging’ to underline the point that images are conditions of possibility that draw together differing aspects of the world. The book is divided into three sections ‘Emergent Images’ which focuses on practices of making; ‘Images as Process’ which examines the making and role of images in prehistoric societies; and, ‘Unfolding Images’ which focuses on how images change as they are made and circulated. The book features contributions from archaeologists, Egyptologists, anthropologists and artists. The contributors to the book highlight the multiple role of images in prehistoric and historic societies, demonstrating that archaeologists need to recognize the dynamic and changeable character of images.
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| 7. |
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Images in the Making : Art, Process, Archaeology
- 2020
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Editorial collection (peer-reviewed)abstract
- This book offers an analysis of archaeological imagery based on new materialist approaches. Reassessing the representational paradigm of archaeological image analysis, it argues for the importance of ontology, redefining images as material processes or events that draw together differing aspects of the world. The book is divided into three sections: 'Emergent images', which focuses on practices of making; 'Images as process', which examines the making and role of images in prehistoric societies; and 'Unfolding images', which focuses on how images change as they are made and circulated. Featuring contributions from archaeologists, Egyptologists, anthropologists and artists, it highlights the multiple role of images in prehistoric and historic societies, while demonstrating that scholars need to recognise their dynamic and changeable character.
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| 8. |
- Jones, Andrew Meirion
(author)
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Four-dimensional and multidimensional images : Diffracting archaeological and computational images
- 2021
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In: Diffracting Digital Images. - London : Routledge. - 9780367486556 - 9781003042129 ; , s. 165-180
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Book chapter (peer-reviewed)abstract
- In this paper I critically address the indexical qualities of archaeological reproductions in order to question the ontological stability of ancient imagery. To do this I employ Karen Barad’s diffractive methodology (Barad 2007; 2014) to consider images in a series of differing ways. I begin by considering the interpretative or semiotic character of images in archaeological analysis; the image in motion presented by anthropological approaches; the digital image as produced in Reflectance Transformation Imaging (RTI). These series of diffractive moments will then be used to describe images from the Neolithic period of Britain and Ireland, and in turn consider the ontological character of digital images produced by RTI.
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| 9. |
- Jones, Andrew Meirion, et al.
(author)
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Making a Mark : Process, Pattern and Change in the British and Irish Neolithic
- 2022
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In: Cambridge Archaeological Journal. - 0959-7743 .- 1474-0540. ; 32:3, s. 389-407
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Journal article (peer-reviewed)abstract
- This paper presents key results of the Making a Mark project (2014–2016), which aimed to provide a contextual framework for the analysis of mark making on portable artefacts in the British and Irish Neolithic by comparing them with other mark-making practices, including rock art and passage tomb art. The project used digital imaging techniques, including Reflectance Transformation Imaging (RTI), and improved radiocarbon chronologies, to develop a new understanding of the character of mark making in the British and Irish Neolithic. Rather than considering this tradition in representational terms, as expression of human ideas, we focus on two kinds of relational material practices, the processes of marking and the production of skeuomorphs, and their emergent properties. We draw on Karen Barad's concept of ‘intra-action’ and Gilles Deleuze's notion of differentiation to understand the evolution and development of mark-making traditions and how they relate to other kinds of social practices over the course of the Neolithic.
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| 10. |
- Minkin, Louisa, et al.
(author)
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Structure from motion : The movement and digital modelling of an artefact from the Blackfoot collections, British Museum
- 2021
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In: Diffracting Digital Images. - London : Routledge. - 9780367486556 - 9781003042129 ; , s. 50-64
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Book chapter (peer-reviewed)abstract
- In the field of computer vision Structure from Motion (SfM) is a photogrammetric technique for building three dimensional models from two-dimensional image sequences. This paper discusses a knife currently held in the Blackfoot collections of the British Museum and its digital modelling using SfM photogrammetry. The paper also explores the potential of thinking with the concept of ‘structure-from-motion’ as a research methodology taking inspiration from Sara Ahmed’s work on the potential for queer use as a way of reanimating the project of diversity work (Ahmed 2019).
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